A successful film needs three ingredients, Klaus Lemke liked to say: good breasts, a bad director and no script. “Klaus Lemke is the quintessential erotomaniac of German cinema, a free spirit that could only have been developed in Munich-Schwabing,” it writes. BR culture editor Knut Gardson in his obituary.
Alexander Bickel, head of the WDR fiction project, says: “Who could say where art and life lie in Klaus Lemke’s life? A private union writer, director, occasional actor and always daring impresario. In his creative sense he was a filmmaker in the broadest sense, and in the truest sense, he He would have never said that there is no loss in indiscipline.”
Search for “small and medium cravings”.
Born in Landsberg/Warthe, now Poland, Lemke has been making small-budget films for over 60 years. Even in his first works, such as “Brandstifter” (1969) or “Rocker” (1972), which were mainly made for television, he drew attention to the dark side of society. According to Bickel, Lemke never rose above the people his films were about. “Rocker, ‘Dancing with Devils’ or most recently ‘Berlin Issa Pitch’, the yearnings of the small and middle class! They take on a luster that softens but never fades. We will miss Lemke, a man who understands people, sees people; what he leaves behind is life. It’s his unerring eye for the fleeting moments of this thing called.”
He works primarily in Munich. Films like “Idol” or “Amor” explore the swapping scene. Most of the time he worked with amateurs, finding them in cafes or on the streets in Munich, Hamburg or Berlin, often hiring them on the spot. Among his inventions were television stars such as Wolfgang Fierek and Cleo Kretschmer.
“Rat” and “3 Minute Heroes” are Hamburg neighborhood studies
His filming also took Lemke to Hamburg’s red light district. So he wrote “Rat” in 1992 and then “Dream on, Julia!” (2005) and “3 Minutes Heroes” (2004), which dealt with the everyday life of St. Paul – with an amateur cast. After things quieted down around him in the 90s, he went into the most productive phase of his career in the 2000s and produced a good 20 films since 2000, all with amateur actors.
Klaus Lemke makes dialect socially acceptable on German television
“Lemke’s characters are loud-mouthed, leather-jacketed bikers who wear their snotty, worn-out local elders who know they’re going to fall flat on their faces sooner or later,” he says. Maximilan Sippeauer from BR in his obituary for Lemke. “With the anti-heroes of Lemke, Godard, or Triforce, he learned to tell stories in the French cinema of Nouvelle Vague—cheap, unadorned, grandiose.” By working with amateur actors and observing everyday life, Lemke created “authentic cinema” and made dialect socially acceptable on German television.
In recent years she has filmed “Underwear Lies” (2016), “Bad Girl Avenue” and “Neu Kotter in der Maxvorstadt” (both 2018) and “Ein Kalgirl fur Keister” (2020). Most recently, he appeared at the Munich Film Festival at the end of June – already physically assaulted. At that point, she said she could no longer walk well, holding a sign that read “Art comes from kisses.”